Theatre

Theatre: The Männy

Just finishing an inspiring challenge with Kevin Rittberger, Nora Khuon and Sandra Fink at Schauspiel Hannover. ‘The Männy’, created with texts and themes from Donna Haraway’s work ‘Staying with the Trouble’, amongst others.
It was intense! My brain turning to mash reading and discussing theories and highly sensitive texts with five devoted actors, and a patient team. Everybody was open to the very end. Working so detailed through and inbetween each sentence with Kevin and Nora. And, open to dive with me into the rope world, learning some shibari, and navigating my rope installation through space as if it was another play partner. A sort of rhizom, air roots, or anarchically grown dendrites.
It wasn’t my first stage design with ropes, but the first in close collaboration with the workshop and technical department of the theatre. Using thousands of meters of jute and hemp. Feels.
And also the first time using rope juxtaposed and at the same time closely intertwined with 90 minutes poetic theoretical content, and developing it over the course of the evening.
The actors did a really good job. Telling an utopia involving plantoids. A kind of cyber biological connection between plants, insects and humans. Screaming of the shrinking population to safe our planet from dying (very roughly). Or for example other systems of ‘care’.
I much enjoyed searching for scenes/images, and developing a dance sequence with the actors. Opening up the more bodily dimension to them, and working through pain, muscle memory, nerves and endorphines. And, there was also the level of finding an approach together with Kevin, and get to know his work. Sometimes rough, often new but in the end productive I find. Yea, I’ d like to continue choreographing in this way, crossing over fields!

REGIE Kevin Rittberger BÜHNE Kevin Rittberger, Dasniya Sommer KOSTÜME Sandra Fink CHOREOGRAFIE Dasniya Sommer DRAMATURGIE Nora Khuon

Fabian Felix Dott Tabitha Frehner Anja Herden Torben Kessler Alban Mondschein

Big thanks to Vanessa Scarra and the supportive technical team of Ballhof 2!

Premier: February 21st, 2020
More dates: 3 + 19 + 29 März

Marat / Sade – Monstertruck

Wiederaufnahme am 12 + 13.11.2019 beim No Limits Festival jeweils 19 Uhr im Hau1.

Die Französische Revolution war ein Aufstand in Frankreich.
Vor über 200 Jahren.
Von 1789 bis 1799.

Das Stück spielt kurze Zeit später.
In einem Irren-Haus.
Marquis de Sade ist dort Patient.
Zusammen mit den anderen Patienten und Patientinnen spielt er Theater.
Sie spielen Szenen aus der französischen Revolution.

Das Theater-Stück wird von der Gruppe Monster Truck auf die Bühne gebracht.
Aber Peter Weiss hat das Stück geschrieben.
Sonst spielt die Gruppe Monster Truck nur eigene Stücke.

Außerdem spielen Menschen mit Lern-Schwierigkeiten in dem Stück mit.
Sie kommen aus Bochum.
Viele von ihnen spielen in ihrer Freizeit Theater.
Aber sie sind keine Profis.
Theater-Spielen ist nicht ihr Beruf.

Monster Truck interessiert:
Wer macht Revolution?
Wer wehrt sich?
Und gegen was?
Was würde passieren, wenn Menschen mit Behinderung eine Revolution machen?
Würde es danach eine bessere Gesellschaft geben?
Oder nur den ganzen Tag Wohnheim-Party?
Wäre den ganzen Tag Behinderten-Disco auch eine bessere Welt?

Von und mit Daniel Beisbart, Jörg Eiben, Rolf Fey, Manuel Gerst, Alexandra Kamulski, Ralf Kons, Roswitha Kons, Anne Nilson, Sahar Rahimi, Lino Reifferscheidt, Nicole Schnippenkötter, Sabine Schrader, Mark Schröppel, Sandra Siewert, Dasniya Sommer, Renate Stahl, Andreas Stebner, Lukas von der Lühe Regie, Bühne, Kostüme Monster Truck Dramaturgie Tobias Staab Theaterleitung der Lebenshilfe Ulrike Schweinitz Betreuung Cornelia Barke Produktionsleitung ehrliche arbeit Koproduktion Schauspielhaus Bochum und NTGentIn Zusammenarbeit mit Lebenshilfe Bochum e.V. Mit Unterstützung der Psychiatrischen Klinik Bochum-Ehrenfeld Gefördert im Fonds Doppelpass der „LOGO” durch die Kulturstiftung des Bundes

PERFORMANCE: BLUME BLUME

A quick invitation, if you are in Berlin come by tonight and see our performance ‘blume blume’ at Eurix-Holzmarkt.
Yesterday was fleshy fun! :)

24+25 Oktober. Doors open at 7pm, shows start at 8pm, we are on around 9pm.
More info here

Holzmarktstrasse 25 – Säalchen, shows start at 8pm, doors open at 7pm.
Premiere: with Fisherman, 2nd show with Fel in ropes.

blume, blume

maskuline muskelblumen

blutlarven

blütenblut und wutrinde

seilwinde

seerosenhimmel

gletscherseele

waldschmelze

mytrambienstürme Vortexschluchten

plasmaozean

staubstummel, laubstücke, blütenstaub
wurzelriesen
plantoiden

glauglommel

symchtonisches Zaudern

stille im wald

 

24. October tying with Flo Blondie

is working with foam puppets and dance , theatre and signs
with animals and objects. Worked a lot with other-abled people.
Also Puppetmaker theatres and sometimes film.

25. October tying with Fel

Since about one year Fel attends the Shibari classes in Haus Sommer.
And inspite of his bodysize of 1. 95 meter hight ( and 85 kg weight) the sunnyboy prooved to be surprisingly talented for suspension as a model.
The reason may be in his yoga or surf background or in his other activities which compose his phisicality or in his positiv spirit.
So he made the step from the classes within a single year to the stage and he was nominated from Haus Sommer for this performance.

10 meter in den wilden westen

Fond memories of Dennis Seidel’s western drama 10 Meter in den Wilden Westen early this year. A bunch of cowgirls, chochi and a mare living in Dawsons Creek. Revenching my dead fam, and helping me hunt down this sneaky bitch Tatjana Thorns! 🤠
The rope scene didn’t make it to the final, but it was much fun to work it with Solène.
We remount the show in Mainz and Berlin this autumn.
Photos: Simone Scardovelli

 

selbstfesselung-inspiriert von nureki shibari kombiniert mit bandagen

Sometimes I am anxious putting myself into ropes. This time I planned a painful shape, which I experienced before passively, but not on my own. Made a test for the top part and was kinda happy. On shooting day it was the second tie, and tiredness was slowly crawling up. My thigh skin was a little wound. Don’t be whiny, I said to myself, choosing an extra thin rope for the waist part. The bandage allowed me to cheat around the spine, but not much. Wondered what Johannes thought behind his camera, but decided better not to think about. Finally I pulled up my legs, fixed the feed and gently lowered my chest. But there is nothing gentle in this shape. Immediately a heavy bend was forced into my spine and, like always, just a minute for the shooting, if at all. Out of breath and with a red head I pulled myself up. And got stuck. I asked Johannes if he could lift me. Telling by his look, he must have thought I was kidding, or what is this crazy chick doing here! He lifted me.
I felt heavy but could free my feet. And he safely put me down. During the pause we had nuts and orange juice, and got ready for the next round. I remember the ropes got stuck again and it was dramatic. I had tied my hands pulling upward and my waist pulling downward. It was a standing position and I could feel my back getting tired. Johannes hurried again to get the shoot, befor shuffing under a chair to rest on. When the drama was over there was lots of relief and survival fun.

Photo: Johannes Wewetzer

Welt ohne Aussen – Berliner Festspiele

From July 25 – 30 performing with Peter Frost and his group Le Frau. Wrestling with special guest Anna Konda from Marzahn and her fem fight club. Ludmilla Skripkina reviving the feminist Russian revolution at Martin Gropius Bau.
Looking much forward to rope, dance, bewitch you!

The exhibition “Welt ohne Außen” features art works spanning from the late 60s to the present day, together with live works and workshops. For the first time, Gropius Bau is issuing passes that will give permanent access to the exhibition and all its activities, inviting visitors to explore all facets of the show and to actively participate in the daily workshop programme. Read more..